Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bahamas and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1971.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Lyon kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Art Ensemble Of Chicago to the crunk kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Walker Brothers. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Boredoms,
Nas,
Susan Cadogan,
Buzzcocks,
Matthew Bourne,
Jesper Dahlbäck,
Camouflage,
Inner City,
The Moleskins,
Janne Schatter,
Black Sheep,
T.S.O.L.,
a-ha,
Eyeless In Gaza,
Crispian St. Peters,
The Wake,
The J.B.'s,
Average White Band,
The Angels of Light,
Nik Kershaw,
Trumans Water,
Swans,
Bobby Byrd,
Howard Jones,
Black Flag,
The Blackbyrds,
Soft Machine,
The Moody Blues,
Cabaret Voltaire,
The Blues Magoos,
Mr. Review,
Heavy D & The Boyz,
Nick Cave & The Bad Seeds,
The Toasters,
the Human League,
Red Lorry Yellow Lorry,
The Birthday Party,
Kevin Saunderson,
Thee Headcoats,
Arab on Radar,
Cymande,
Bill Near,
Avey Tare & Kría Brekkan,
Erasure,
New Age Steppers,
the Soft Cell,
Marc Romboy vs. Booka Shade,
Donny Hathaway,
Andrew Ashong & Theo Parrish,
Rhythm & Sound,
The Grass Roots,
Arthur Verocai,
Schoolly D,
Albert Ayler,
Bobby Sherman,
Masters at Work,
Junior Murvin,
Fatback Band,
kango's stein massive,
T. Rex,
Make Up,
cv313, cv313, cv313, cv313.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.